Next to Ms. Abramovic were the Belgian choreographers Sidi Larbi Cherkaoui and Damien Jalet, with whom Ms. Abramovic is collaborating on a new work, “Boléro,” which will have its premiere on Thursday at the Palais Garnier on a program that includes Maurice Béjart’s “Firebird” and versions of “Afternoon of a Faun” by Nijinsky and Jerome Robbins.
It might seem strange for Ms. Abramovic, 66, the groundbreaking artist who almost single-handedly brought performance art to the general public’s attention, to be working on a dance. (She is credited, along with the choreographers, for concept of the piece, as well as its design.) But on her second day of rehearsals in Paris, she was embracing the role with her characteristic enthusiasm.
Friday, April 26
Posted 26 April 2013 - 02:55 PM
Posted 26 April 2013 - 02:59 PM
Since joining the professional company in 2007, Joseph's had the opportunity to dance a wide range of roles. One of his favorites includes his part in Sir Kenneth MacMillian's Manon. "It was the first three-act ballet I had to carry with a female lead. I was one of those things like the Lincoln Center performance where I had to get over this mental stage fright and realize I got this. When the performance was over, it was so satisfying."
Posted 26 April 2013 - 03:00 PM
"Stagioni," a neoclassical ballet set to a musical re-interpretation of Vivaldi’s "Four Seasons," will receive its premiere Friday at the Middlesex County Performing Arts Conservatory in East Brunswick. In addition, the 10-member company will perform works by contemporary choreographers Loni Landon and Manuel Vignoulle. Guesting with the troupe will be Lauren King, a soloist with New York City Ballet who studies with Loungway at Peridance.
Posted 26 April 2013 - 03:02 PM
“You Gotta Be Kiddin’ Me,” premiered last week at Grand Rapids Ballet’s Spring Gala, is a last-minute audition to Movemedia II.
The piece by Grand Rapids Ballet professional dancer Thomas Dancy stars Mosolygo, who is retiring from dance at the end of this season.
Posted 26 April 2013 - 03:04 PM
The NBS in Toronto, which trains young ballet dancers from across Canada, is playing host to top students from 18 professional ballet schools for the one-week conference.
The idea is to have them learn and perform together, and to forge creative friendships that will help them in their future careers as dancers.
Posted 26 April 2013 - 03:06 PM
“I looked at a lot of rehearsal pictures from the ’50s, ’60s and ’70s, mainly of Baryshnikov and Nureyev,” he said. He was struck in particular by Nureyev’s strappy tank tops and thick leg warmers. That influenced his ideas for Mr. Fairchild’s off-white costume. For Ms. Peck, he designed a minimalist costume in pale blue crepe de Chine with an asymmetrical flutter, based on a “cache coeur,” or wrap top. He said he got the sense from Mr. Wheeldon, and from rehearsals, that the “costumes should feel very unballet-like.”
Posted 26 April 2013 - 03:13 PM
When Scottish Ballet’s new artistic director, Christopher Hampson, asked Bourne for Highland Fling, he knew it would be the ideal production to attract and entertain new and existing audiences. But on top of that, he knew it would be good for the dancers. The performers in Bourne’s own company, New Adventures, are as much actors as they are dancers – so to take on Highland Fling, Scottish Ballet would have to find and hone the same skill set.
The Scottish Ballet production is on exclusive licence from Matthew Bourne, marking the first time he has handed over a piece to a company other than his own – but, he states that “it’s a really exciting time for Scottish Ballet and this collaboration seemed just right.
“I originally made the piece after being inspired by touring to Scotland, so it seems perfect that it comes home once more.”
Posted 26 April 2013 - 03:15 PM
I’m a sucker for ‘Etudes’, even though some may deride it. It can be exciting and exhilarating; it can be moving as you watch those tiny exercises at the barre build into the virtuosity of the last sections. At its best it’s a combination of those sensations. Neither of the performances I saw quite reached those heights although overall the performances were enjoyable and the company danced well.
Posted 26 April 2013 - 03:36 PM
For all of her wistful memories, though, it hasn’t been a perfect journey.
“What I really wanted to do was the classical repertoire,” says Kelly, who is best known to audiences for her roles in contemporary and more edgy ballets. “I was trained to be in a tutu. It got frustrating to be told that you can’t do this sort of thing because you’re better suited for that.”
Posted 28 April 2013 - 09:15 PM
The Globe and Mail
The cornerstone of Navas’s revision is that class distinctions are not the barrier to true love that they once were. His nod to 21st century sensibility is having Albrecht (Connor Gnam) and Hilarion (Gilbert Small) as the lovers. A bisexual Albrecht’s dalliance with Giselle (Alexis Fletcher), followed by his rejection, is what drives her to slit her own throat.
To put it mildly, purists are going to have their pearl earrings shaken off. And we’re not talking about the gay love story; that’s fairly familiar territory in dance (and life). No, we’re talking about the masked chorus of dancers that manipulate the action: in the first act, with black screens that pull down Kabuki-like over their faces; in the second, with both men and women in gauzy tutulike gowns, in blank, oval white masks that recall ancient Greek theatre. We’re talking about the lush, shifting clouds, lips, and hearts of multimedia artist Lino’s animation on the giant screen overhead. And we’re talking about strikingly avant-garde stagings of Giselle’s violent self-inflicted death and final disappearance into the afterworld.
Posted 29 April 2013 - 10:54 AM
In its second season at San Francisco Ballet, Edwaard Liang’s Symphonic Dances seems to have lost the initial enthusiasm of the dancers. I have reviewed it before here, and while it offers some interesting shapes that excited me on first viewing, this time it seems to stop short of challenging the dancers to do more. At each premature stopping point, they end up looking hungry for more. Overall, the verve of the music doesn’t find an echo in the continuity of the steps. The men’s section offers the most promise. The exception that redeems it is a sensual duet danced by Dana Genshaft and Tiit Helimets. She touches his chest and he falls at her feet. While it goes stagey now and then, the back-to-back poses leave us hungry for more—but in this case, we get fed a most sensual and sexual pas de deux that lifts the choreography to the rafters....
Posted 30 April 2013 - 05:27 PM
Visually stunning, the production is filled with picturesque moments that are beautiful whether happy or heartbreaking. The role of Othello on opening night was played by the also photogenic Fabrice Calmels, a favorite principal dancer (and judging by the cheers when he took the stage, a favorite of many ladies in the audience).....
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